New Performance/New Writing
Contemporary practitioners such as Orlan, Franko B, Robert Wilson and Tim Etchells are creating work that flies in the face of traditional thinking about what performance might mean. New Performance/New Writing offers contextualisation and guidance for those wishing to explore these innovative approaches. With chapters on the relationships between written text and body, self, space and devising, the author traces the history of performance practice in a critically informed and accessible way. Each chapter contains recommendations for further reading, alongside in-depth performance writing exercises.
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20th century Acconci actors Allan Kaprow alongside approach art and performance Artaud artists audience automatic writing Barthes Beckett become Berkoff Boal body art born Breton Carolee Carolee Schneemann Chapter Chris Burden Chronology Selected cinema concept contemporary performance conventional create creative critical cultural Dada Dadaists defined distinctions dramatic Duchamp Elizabeth LeCompte Etchells event everyday exploration film focus Forced Entertainment function Futurists Goffman Gomez-Pena Gray's Grotowski Ibid idea installation John Cage Laurie Anderson LeCompte London manifesto Marina Abramovic Marinetti Mike Leigh modernist narrative notions Orlan performance art performance texts performance writing Peter play postmodern postmodern performance practice practitioners radical reality recognise Recommended Reading regarded rehearsal relationship representation Routledge s/he Samuel Beckett Sarah Kane Schechner Schneemann script sense shift space Spalding Gray spectatorial spectators stage Stelarc Study subversion Surrealism Surrealist term theatre theatrical theory truth Ulay Vito Acconci whilst Wooster Group words Yoko York